Seventies Stories

We tell a lot of stories and we tell ourselves A LOT of stories.  Some of them are true but most of them are not entirely true.

Scratch that. 

None of them are entirely true because there is no absolute truth other than we will all die one day.

HAPPY JANUARY!

Resolutions be damned!

It’s better not to obsess about absolute truth or death because, really, what will that get us?  Instead, I’ve found over the years the better strategy is to accept that there are simply basic truths.

Like when you watch a group of many, many hundreds of weaponized people violently storm the Capitol building in Washington, D.C.  on, say, January 6, 2021, shouting they want to hang a US Vice President before he can, in an hour or two, ratify the results of a presidential election they didn’t like, this is, by definition, an insurrection.

That is because insurrection is defined as a violent uprising against an authority or government. 

You tell em, Lizzy!

It is also true because they built a gallows for the hanging, seriously injured and/or caused the death of many police officers AND destroyed many tens of thousands of dollars worth of government property in doing so.

On the other hand, there is no way to categorically proclaim Power of the Dog, a film I found beautiful to look at but vague and strangely homophobic in its vagueness, is the best movie of the year.

Now you might truthfully state it is the best REVIEWED film of the year and, by extension, a front-runner in the Oscar race for best picture and director.  But you can’t prove it is overall THE best by any rational standard.

Unless there is an Oscar for highest cheekbones, nothing is a sure bet!

No opinion of greatness is an absolute truth.  Just as no memory or memory piece is an absolute evocation of what literally happened.

The best we storytellers, which includes all of us (non-writers especially included), can do is capture a basic spirit of what happened and through character, plot and actions, show it to you.

This came to mind this week as I found myself debating the merits and debits of two films set in the decade I basically grew up in – the 1970s.  These would be Licorice Pizza and The Tender Bar.

Let me state at the outset that as a bit of an expert on the seventies, since I was at my most impressionable, observant and un-jaded at the time, both of these movies told the basic truth.

Double serving of 70s realness

This doesn’t mean they were brilliant or Oscar worthy or that YOU should love or like them.  Rather it’s that they were amazingly accurate on the essentials when so many stories about a particular place and time are not but pretend to be.

Most of the 1970s, particularly the first half, were really the tail end of what we now consider the cultural revolution of the 1960s. 

This was a time when everything felt adrift.  If you were coming-of-age at that moment your journey strangely coincided with the country’s journey.  No one knew what the new rules were in sex or sex roles; in politics and social settings; and to quote a 60s/70s expression, in love or war or the whole damned thing.

See: Peggy from Mad Men, Season 7

This made it a quite interesting but confusing time to grow up in.  To tell stories about it is like trying to hold a hyperactive puppy in your hands.  Just when you think you’ve tamed the impossible it wriggles out of your grasp and runs (or circles) in an entirely different direction.

I think this accounts for some of the disparate reaction to both films. 

The very reason I appreciate and enjoyed Licorice Pizza were the very reason four of the other five people watching the movie with me (Note:  Okay, yes, it was a screener and we watched it on Christmas Day at home!) lost interest.

The story of a weird, pseudo romantic relationship between a 15-year-old boy and a 25-year-old girl that unfolded in disjointed episodes where they sold waterbeds, met drug-fueled celebrities like producer Jon Peters and each grappled with their even stranger, ill-defined family lives, just wasn’t really compelling.

Even an unhinged Bradley Cooper cameo couldn’t do it for them

Yet for me, it was surrealistically accurate because that was what I saw as the story of the seventies.  Everything felt disjointed, and not merely because I was an adolescent.  It was a disjoined time and, in retrospect, a rather lovely one when you consider that the decade that would follow it were the Gordon Gekko-like greed is good eighties.

Sure, the seventies was also the era of Watergate but the eighties brought us Ronald Reagan. 

And let’s just let that sit there for a little while.

A chill just went down my spine

Okay, enough. 

The Tender Bar spends most of its time in the later 1970s and, as a memoir of a young boys’ coming-of-age, has a naturally gauzy quality to it.  But to its credit, it also doesn’t spare us the social reckoning that Licorice Pizza cleverly avoids. 

At this point, there was direct retribution and consequences for underage drinking, hitting women (note: particularly one’s wife) and the snobbism of economic class.  If it feels a little pat, well, at that time, on Long Island, if you were a teenager, it was a little pat.

I only know this because I grew up in Queens (Note: Not quite Long Island, but still….) and saw it play out in real time.  The years prior made it okay for kids to now call out adults in no uncertain terms.  In fact, it even got you support from that group of adults that had made the choice to evolve rather than stand their ground in insurrection to society’s changing norms.

AHEM

I loved The Tender Bar not because it was THE best of any film story but because it so entertainingly and boldly and emotionally told ITS story.  No one thought about being too sentimental because, let’s face it, it was something of an emotional time.

This was my truth of that moment and it happily coincided with what these filmmakers chose to show us.  Which is about the best you can hope to do as a storyteller of any kind.

Well done, Georgie.

Where we all get in trouble, especially society, is when we try to twist the basic truth into something patently and grotesquely untrue.

That’s not only unacceptable but it’s strangely un-American.  To this very American art form, that is.

Gordon Lightfoot – “If You Could Read My Mind”

Same Ol’ Oscar

The 92nd Oscar nominations were reliably predictable.  No, this year’s list of honorees cannot rightly be categorized as #OscarsSoWhiteStraightMale.  But neither could the group even vaguely be considered #OscarsSoColorful, #OscarsSoInclusive or even #OscarsSoPurelyArtistic.

It does seem a bit quaint to even be discussing what Hollywood (Note: Whoever or whatever that is) deems deserving of its annual golden statuette when the world is falling apart around us but perhaps that’s the very reason to spend a bit of time on it.  We all need a diversion or two, or twenty-three, and well, every year the Motion Picture Academy never fails to both come through AND simultaneously disappoint.

The Academy always comes through…

That said, it was interesting to see just how aware the Academy was of just how white the awards had the potential to be.  You could tell by their choice of not one but two people of color – Issa Rae and John Cho – to announce the nominees to an international audience.  That’s twice as many non-White people that were nominated in all four acting categories combined!

It’s a sad state that Green Book was more diverse

Meaning, Cynthia Erivo was the sole person of color to be singled out in an acting category this year for her lead performance as famed abolitionist Harriet Tubman in the fine historical drama, Harriet.  Does it count for diversity that Antonio Banderas was also nominated for his lead role in Pedro Almodovar’s brilliant semi-autobiographical pic Pain and Glory? That’s for social media to decide so you’re on your own there.

Leading the list of this year’s nominated films with ELEVEN nods was…Joker? Well, the title of that film alone says everything you need to know about the times we live in.  Close behind were: The Irishman and 1917 and Once Upon A Time in…Hollywood with ten each.

More like a TEN (but really, this did factor in right?)

The aforementioned Ms. Erivo was also one of a handful of recipients to receive two Oscar nominations in two separate categories this year.  Her second was as co-writer in the best song category for Harriet’s “Stand Up.”  Also double nominated were: Scarlett Johansson as both lead actress and supporting actress for Marriage Story and JoJo Rabbit, respectively; and David Heyman as a producer on two potential best picture winners, Marriage Story AND Once Upon A Time in…Hollywood.

Here is a full list of the nominations along with some (accurate? snide? bitchy?) opinions on those chosen and those left out of the major categories.  Let’s save the rest for when the awards are handed out on Feb. 9th.   In the meantime, get your Joker masks ready, the next four weeks promise to be….memorable?

My mantra to get through these nominations

BEST PICTURE

FORD V FERRARI  Peter Chernin, Jenno Topping and James Mangold, Producers

THE IRISHMAN  Martin Scorsese, Robert De Niro, Jane Rosenthal and Emma Tillinger Koskoff, Producers

JOJO RABBIT  Carthew Neal and Taika Waititi, Producers

JOKER  Todd Phillips, Bradley Cooper and Emma Tillinger Koskoff, Producers

LITTLE WOMEN  Amy Pascal, Producer

MARRIAGE STORY  Noah Baumbach and David Heyman, Producers

1917  Sam Mendes, Pippa Harris, Jayne-Ann Tenggren and Callum McDougall, Producers

ONCE UPON A TIME…IN HOLLYWOOD  David Heyman, Shannon McIntosh and Quentin Tarantino, Producers

PARASITE  Kwak Sin Ae and Bong Joon Ho, Producers

The question is, what DIDN’T get nominated?  Pretty much all the films predicted to get a nod in this category managed to squeak through.  The possible exception was Knives Out, which nevertheless received what more and more seems to be the consolation prize of a writing nomination, in this case for its director Rian Johnson.

Still gets top honors for best knit!

What else MIGHT have been nominated in this category even though you’d be crazy to expect it?   Well, the indie movie The Last Black Man in San Francisco should not have to rely solely on the Independent Spirit Awards to be named among the best films of the year when it is clearly that and more.   But don’t get me started on the #OscarsSo……. Again.

DIRECTING

THE IRISHMAN  Martin Scorsese

JOKER  Todd Phillips

1917  Sam Mendes

ONCE UPON A TIME…IN HOLLYWOOD  Quentin Tarantino

PARASITE  Bong Joon Ho

Here’s the thing.  Greta Gerwig, Little Women, Lulu Wang, The Farewell, Marielle Heller, A Beautiful Day in the Neighborhood, Alma Har’el, Honeyboy and Kasi Lemons, Harriet.  When you have five women who directed the aforementioned Oscar caliber films and not one gets nominated in this category, well, this is why people begin to talk.

We riot at dawn #burnitdown #justiceforGreta

Though whenever this subject comes up I point to the SOLE FEMALE to WIN best director, Kathryn Bigelow.  She got the award for her work on The Hurt Locker, a war movie with a male protagonist.  What this tells us, aside from the fact that Bigelow is a great director, is that the subject matter of a movie has as much to do with the gender of a director where the Oscar nominees (and winners) are concerned.

Anyone hungry? #sausagefest

ACTOR IN A LEADING ROLE

ANTONIO BANDERAS   Pain and Glory

LEONARDO DiCAPRIO  Once upon a Time…in Hollywood

ADAM DRIVER  Marriage Story

JOAQUIN PHOENIX  Joker

JONATHAN PRYCE  The Two Popes

There are those who might rightly be grousing that the performances of Taron Egerton in Rocketman and Robert DeNiro in The Irishman should have gotten a nod.  But truly the best performance of the year NOT in this category was in Uncut Gems.  Adam Sandler did the best acting of his career as a Jewish, compulsive gambler jeweler who can’t get out of his own way in an unrelenting and uncomfortably riveting film.  Does he deserve the Oscar for it?  Yes.  Do I care if you disagree?  No, cause it’s true.

Get ready for Grown Ups 3 #sigh

ACTOR IN A SUPPORTING ROLE

TOM HANKS  A Beautiful Day in the Neighborhood

ANTHONY HOPKINS  The Two Popes

AL PACINO  The Irishman

JOE PESCI  The Irishman

BRAD PITT  Once upon a Time…in Hollywood

Brad Pitt is really the only one who matters here…for so many reasons.  Least of which is that Mr. Pitt is the sole person in this category NEVER to have won an acting Oscar.

This category is so 90s, you have to watch all the nominees on VHS

ACTRESS IN A LEADING ROLE

 CYNTHIA ERIVO  Harriet

SCARLETT JOHANSSON  Marriage Story

SAOIRSE RONAN  Little Women

CHARLIZE THERON  Bombshell

RENÉE ZELLWEGER  Judy

Yeah, it was between Cynthia Erivo and Awkwafina (The Farewell) for the female of color slot and Cynthia won.  Just kidding, sort of, but not…really.  However, it won’t matter.  Renee Zellweger’s daring recreation of Judy Garland at the end of her life, singing and all, will win and should win.

Although Charlize wins for inspiring the most gasps (and nightmares)

ACTRESS IN A SUPPORTING ROLE

KATHY BATES  Richard Jewell

LAURA DERN  Marriage Story

SCARLETT JOHANSSON  Jojo Rabbit

FLORENCE PUGH  Little Women

MARGOT ROBBIE  Bombshell

Did you really think J Lo would be nominated for doing her Oscar pole dance in Hustlers?  Really?  No, I mean…really???  Really????????

MAYBE WE DID CHAIRY?!?!

WRITING (ADAPTED SCREENPLAY)

THE IRISHMAN  Screenplay by Steven Zaillian

JOJO RABBIT  Screenplay by Taika Waititi

JOKER  Written by Todd Phillips & Scott Silver

LITTLE WOMEN  Written for the screen by Greta Gerwig

THE TWO POPES  Written by Anthony McCarten

 

WRITING (ORIGINAL SCREENPLAY)

KNIVES OUT  Written by Rian Johnson

MARRIAGE STORY  Written by Noah Baumbach

1917  Written by Sam Mendes & Krysty Wilson-Cairns

ONCE UPON A TIME…IN HOLLYWOOD  Written by Quentin Tarantino

PARASITE  Screenplay by Bong Joon Ho, Han Jin Won; Story by Bong Joon Ho

You could have read three or four articles predicting the screenplay nominations and scored close to 100% in both of these categories.  But for my money, the big omission is Booksmart, a coming of age/last night of high school story chock full of memorable characters in hilariously awkward situations you felt you had both seen and never seen before.  So imaginative, heartfelt, funny and extremely difficult to achieve that it took four writers – Emily Halpern, Sarah Haskins, Susanna Fogel and Katie Silberman.  Of course the fact that they’re four women writing a female driven narrative had NOTHING to do with the snub!

What does the Oscars have against girls and poles?

Not to downgrade the rest, but I got up at 5:15 am for this!  So, here they are without comment:

 

ANIMATED FEATURE FILM

HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD 

I LOST MY BODY 

KLAUS 

MISSING LINK 

TOY STORY 4 

 

CINEMATOGRAPHY

THE IRISHMAN  Rodrigo Prieto

JOKER  Lawrence Sher

THE LIGHTHOUSE  Jarin Blaschke

1917  Roger Deakins

ONCE UPON A TIME…IN HOLLYWOOD  Robert Richardson

 

COSTUME DESIGN 

THE IRISHMAN  Sandy Powell and Christopher Peterson

JOJO RABBIT  Mayes C. Rubeo

JOKER  Mark Bridges

LITTLE WOMEN  Jacqueline Durran

ONCE UPON A TIME…IN HOLLYWOOD  Arianne Phillips

 

DOCUMENTARY (FEATURE)

AMERICAN FACTORY 

THE CAVE 

THE EDGE OF DEMOCRACY 

 FOR SAMA 

HONEYLAND  

 

DOCUMENTARY (SHORT SUBJECT)

 IN THE ABSENCE 

LEARNING TO SKATEBOARD IN A WARZONE (IF YOU’RE A GIRL) 

LIFE OVERTAKES ME

ST. LOUIS SUPERMAN

WALK RUN CHA-CHA 

 

FILM EDITING

FORD V FERRARI  Michael McCusker and Andrew Buckland

THE IRISHMAN  Thelma Schoonmaker

JOJO RABBIT  Tom Eagles

JOKER  Jeff Groth

PARASITE  Yang Jinmo

 

INTERNATIONAL FEATURE FILM

CORPUS CHRISTI  Poland

HONEYLAND  North Macedonia

LES MISÉRABLES  France

PAIN AND GLORY  Spain

PARASITE  South Korea

 

MAKEUP AND HAIRSTYLING

BOMBSHELL  

JOKER 

JUDY 

MALEFICENT: MISTRESS OF EVIL 

1917 

 

MUSIC (ORIGINAL SCORE)

JOKER  Hildur Guðnadóttir

LITTLE WOMEN  Alexandre Desplat

MARRIAGE STORY  Randy Newman

1917  Thomas Newman

STAR WARS: THE RISE OF SKYWALKER  John Williams

 

MUSIC (ORIGINAL SONG)

I CAN’T LET YOU THROW YOURSELF AWAY  from Toy Story 4; Music and Lyric by Randy Newman

(I’M GONNA) LOVE ME AGAIN  from Rocketman; Music by Elton John; Lyric by Bernie Taupin

I’M STANDING WITH YOU  from Breakthrough; Music and Lyric by Diane Warren

INTO THE UNKNOWN  from Frozen II; Music and Lyric by Kristen Anderson-Lopez and Robert Lopez

STAND UP  from Harriet; Music and Lyric by Joshuah Brian Campbell and Cynthia Erivo

 

PRODUCTION DESIGN

THE IRISHMAN 

JOJO RABBIT 

1917  

ONCE UPON A TIME…IN HOLLYWOOD 

PARASITE 

 

SHORT FILM (ANIMATED)

DCERA (DAUGHTER) 

HAIR LOVE 

KITBULL 

MEMORABLE 

SISTER 

 

SHORT FILM (LIVE ACTION)

BROTHERHOOD 

NEFTA FOOTBALL CLUB 

THE NEIGHBORS’ WINDOW 

SARIA 

A SISTER 

 

SOUND EDITING

FORD V FERRARI 

JOKER 

1917 

ONCE UPON A TIME…IN HOLLYWOOD 

STAR WARS: THE RISE OF SKYWALKER 

 

SOUND MIXING

AD ASTRA 

FORD V FERRARI 

JOKER  

1917 

ONCE UPON A TIME…IN HOLLYWOOD 

 

VISUAL EFFECTS

AVENGERS: ENDGAME 

THE IRISHMAN 

THE LION KING 

STAR WARS: THE RISE OF SKYWALKER 

The Rolling Stones – “You Can’t Always Get What You Want”